Abstract

With the introduction of Deleuze’s conception of the flow of desire, Foucault’s explication of Velasquez’s Las Meninas is enhanced through a new interpretation of Picasso’s lengthy cubist study of Las Meninas. By examining the arrow-headed structuration of the painting as filtered through panopticism, the single sided diamond that Foucault discovers in Velasquez’s painting is rendered as only half of the picture. Focusing the cone of sight on the panoptic figure and inverting the cone, with the bodies at the edges of the painting serving as the hinges that hold the double perspective together, completes the diamond structuration of the painting with the inclusion of the synoptic dimension. As the viewer’s eyes are drawn across the figures in the forefront of the painting towards the circular mirror hanging on the black wall at the back of the painting, the opposite maneuver is happening simultaneously. The viewer usurps the position of an ambiguous and ever changing subject, and fills out this pan-synoptic scene. A new diagram that conjoins the operative structure of surveillance can decode the valuations of desired commodities, diagnose the economy of control, and program a mode of becoming that breaks our complicity in the social machine and produces unfamiliar, unforeseen, and transgressive behaviors that blaze lines of escape from the predominant system. The goal in this paper, by drawing together these Deleuzian and Foucauldian ideas and applying them to contemporary art, is to map or diagram the manipulation and reproduction of gender identities in the modern world.